See the specimen books of the Fonderie Générale.Īnisette (1997, Font Bureau), Anisette Petite (2001-2008). Inspired by late style (1830s) Didot's, and with g, y and k as in the types of Vibert, the Didot family punchcutter. A sans family for the group La Poste.Īmbroise, Ambroise Firmin (condensed) and Ambroise François (extra condensed) (2001, 30 fonts in all). From 2004 until 2007, he was President of ATypI.Īllumi PTF (2009-Eurostyle meets Frutiger).Īlpha Poste (2005).
Until 2004, he taught typography at ENSAD in Paris, and teaches occasionally at Reading. He runs an increasingly important foundry, Porchez Typofonderie, and is the main typographical driving force in France today. He received the Charles Peignot award in 1998, and many awards at Bukvaraz in 2001 for fonts such as Ambroise and Anisette. His fonts Angie and Apolline were prize-winning entries at the Morisawa Typeface competition. He studied at the Atelier Nationale de Recherche Typographique (or ANRT), and caught the world's attention when he created a new type family for Le Monde in 1994. 1964) lived in Malakoff near Paris until 2006, when he moved to Sèvres, and from there to Clamart in 2008.
PARISINE STD SOMBRE BOLD ITALIC FREE PLUS
Not connected with Ratp and public transports, Parisine Plus was created as an informal version of Parisine.Jean-François Porchez (b. Parisine remain the official corporate typeface of the public transport in Paris, the worldwide capital for tourism, and now integral part of the French touch.ĭirectly related, Parisine Office was initially created for Ratp’s internal and external communication, Parisine Office is available at Typofonderie too. Initially, Parisine was designed by Jean François Porchez in 1996 for Ratp to solely fulfil the unique needs of signage legibility. Stylistic set 6 replaces caps ’A’ through ’H’ and lowercase ’a’ through ’h’ with multi-directional arrows. Stylistic set 5 converts the connected c cedillas to disconnected c cedillas. The contextual feature replaces as well the sequence“word space-en dash-word space” by an en dash with surrounding fine spaces. The OpenType version of Parisine fonts and its stylistic set 3 feature switches from these disconnected f ligatures to joined forms.
The f ligatures of the original Parisine were designed disconnected to ensure perfect legibility in signage (and to be seen) where real traditionally-joined forms would not be suitable. With the contextual alternates feature, a short top f will automatically replace the standard f in front of glyphs such as ì. Another feature of Parisine is its alternate f ligatures. Miniscule lowercase and figures for automated fractions, are also included. Along with small caps available in all styles, all widths, 4 sets of figures are provided–lining and oldstyle–in tabular and proportional widths, depending on the version. Each member of the family include more than 720 glyphs and feature thousand of kerning pairs. Many years of adjustments were necessary to refine this complex family.Įxpended into a large typeface family along the years Parisine allows for the composition of numerous Latin-script European languages. Parisine is organised in various widths and subsets, from the original family Parisine, Parisine Gris featuring lighter versions of the usual weights and italics, Parisine Clair featuring extra light styles, to Parisine Sombre with his darker and extremly black weights as we can seen in Frutiger Black or Antique Olive Nord. The various Parisine typeface subfamilies The Narrow version will be useful as direct compagnon mixed to standard width version when the space is limited.
In editorial projects, the Compress version will enhances your headlines, banners, allowing ultra large settings on pages. Born as signage typeface family, the various widths and weights permit a wider range of applications. on the italics, to keep certain expected regularity, important for information design, signages, and any subjects where legibility, sobriety came first. More human, but not fancy: No strange “swashy” f, or cursive v, w etc. Meanwhile, Parisine is now a workhorse and economical sanserif font family, highly legible, who can be considered as a more human alternative to the industrial-mechanical Din typeface family. The Parisine was created to accompany travelers in their daily use: ultra-readable, friendly, human while the context is a priori hostile. This family of typefaces has become over years one of the symbols of Paris the Johnston for the London Underground or the Helvetica for the New York Subway. Parisine was born as official parisian métro signage typeface.